WESERBERGLAND Sehr Kosmisch, Ganz Progisch reviews
❤️ Click here: Ganz sehr
The driver of the train gets out on the other end, and sees me standing there like a total dweeb. I realized my mistake when the train drove into a tunnel and parked, with nobody else on it.
Now recently he could form a unit that should implement his personal vision of a krautrock inspired progressive rock album. And he's enlisted many of those musicians he's played with to help him out here. I am feeling sick, but I am able to do the most necessary work I can go to the grocery store, but though I wish someone else would do.
WESERBERGLAND Sehr Kosmisch, Ganz Progisch reviews - So a Krautrock album from Norway?
Tanzen und Springen 9:58 2. Das Trinklied vom Jammer der Erde 16:05 3. Die Kunst der Fuge 12:21 4. Now recently he could form a unit that should implement his personal vision of a krautrock inspired progressive rock album. And so 'Sehr Kosmisch Ganz Progisch' appears with a German title of course, moreover this is pointing to an Harmonia song. Besides a bunch of guest musicians the bands core is completed by Gaute Storsve and White Willow's Jacob Holm-Lupo, both on guitar as well as bass, and finally drummer Mattias Ganz sehr of Änglagård fame. While residing at the Weserbergland border since my birth, this issue attracted my attention in particular, you bet. But, are there even any specific relations to notice concerning krautrock and this region in Germany. Oh yes, there are some. And temporarily, similiar to Kraan residing in Wintrup for some time, the Weserbergland has been a retreat for Hans-Joachim Roedelius and Dieter Moebius above all, both representing the band Cluster. This probably might have helped to name the project just ganz sehr that. The album shows a very unique flow and flavour. Although some references are given, for me it doesn't sound like blatantly leaning at any well known kraut outfit, fortunately. Thus 'Sehr Kosmisch Ganz Progisch' evolves to a revelation per se for every prog fan, especially when looking for something new and innovative. The particular songs are skillfully weaving diverse music styles and ideas, deriving from different epochs, to something very open minded and experimental. Well, that ganz sehr mirroring a krautrock spirit, isn't it. Furthermore Mattias Olsson's drum presence is motoric, very special in general. The approach to combine kosmische electronics and rock music is fulfilled. And so somewhat in the vein of Harmonia, Cluster, Neu. Followed by the Gustav Mahler adapted Das Trinklied Vom Jammer Der Erde, starting very melancholic, concerning the mood reminding of Kaukasus, but then provided with a very strong and dynamic flow furthermore. Kunst Der Fuge is picking up the legacy of baroque composer Johann Sebstian Bach with industrial alike implemented drums, partially just like forced by a machine, partially very tricky - a great challenge. Finally tending to some free formed jazz in between Tristrant spiritually seems longing back to the 12th Century after all, pointing to the love story of Tristan and Iseult, which has been nothing but an emotional rollercoaster affair to them. Musically this is realized in a rather dramatic manner. And no wonder, most of the guest musicians are involved in this song. While taking some episodes from ganz sehr German cultural history as a template, Ketil Vestrum Einarsen has started something really unusual and precious here with 'Sehr Kosmisch Ganz Progisch'. Maybe for some reason, but if, surely equipped with the prefix Neo. With this new venture he steps up as a band leader for the first time, and this debut album was released in the spring if 2017 through Norwegian label Apollon Records. Most likely those among this audience that enjoys an artist with a modern take on old traditions and the inclusion of elements also outside of this specific field. Otherwise many people with an affection for instrumental progressive rock in general should find this album to be a rewarding one I suspect. Each song on the album is like listening to a drum, keyboard, and guitar clinic. The bass is often keyboard or computer driven, but it works. Mattias' drumming blends computer technologies with the live kit sounds. The keyboard and guitar sounds and techniques used are all over the place. Overall, the music is derivative, yet experimental; it's rhythmic and ganz sehr avant; it's militaristic yet psychedelic. Nice lead guitar work especially the Todd Rundgren-like work ganz sehr the ninth and tenth minutes. Great synth, winds, and percussion work. I love the cacophonic buildup in the second half and then the slow release toward the end. And he's enlisted many of those musicians he's played with to help him out here. Ketil wrote all the music and produced this recording, while playing flute, clarinet, keys, guitar and he adds programmed sounds. Many of these musicians have played together. So a Krautrock album from Norway. Well Ketil was ganz sehr to Krautrock in the 90's and fell in love with it. The band's name comes from a very beautiful area of Germany where the mountains and that river create gorgeous scenes. Lots of higher pitched synths and keys but really the more I have listened to this the more intrigued and impressed I become. It's all instrumental but for some brief vocal melodies from Ketil. This is a homage to the 70's Krautrock scene. What an interesting album and there's so much talent on display here and so many connections. It settles down after 2 minutes with bass and more before kicking back in. I do like that bass 5 minutes in. A change before 7 minutes as spacey sounds dominate before some atmosphere adds depth. A full sound returns before 8 minutes with guitar, drums and much more. Interesting stuff as a beat starts to slowly build. Faint sitar can be heard eventually then some dark and melancholic synths arrive changing the mood. It slows down a minute later before picking back up before 4 minutes. Lots of drums and synths once again. Flute before 7 minutes with drums and synths. A calm a minute later as different sounds come and go until it kicks in with power. Love the drumming and guitar before 11 minutes. A dark and spacey calm takes over before 12 minutes and it becomes experimental with some avant Krautrock stuff ganz sehr the end. Drums and deep sounds join in just after a minute. It then picks up in pace, organ too. The guitar comes in late then electronics ends it. Drums to start as spacey sounds join in. Bass and synths will arrive as well in this catchy soundscape. Love the sound 2 minutes in, it's quite moving for some reason. A change before 3 minutes as it all stops and horns kick in. Ganz sehr to that previous sound rather quickly though. More of that moving section before 5 minutes. The horns are back 7 minutes in. A solid 4 stars and an album that I'll get a lot of mileage out of given how unique it sounds. Posted Saturday, December 16, 2017 Review 1842607 Well this came from nowhere didn't it. Apparently there has long been an undercurrent of admiration for Krautrock in today's glorious Scandinavian prog music scene, and led by Ketil Vestrum Einarsen it's all come together in an album that I've been listening to repeatedly for months now.
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Thus 'Sehr Kosmisch Ganz Progisch' evolves to a revelation per se for every prog fan, especially when looking for something new and innovative. Again, it sounds slightly better to me using sehr starker Schneelfall. I have to drive very slowly and carefully. A full sound returns before 8 minutes with guitar, drums and much more. I love the cacophonic buildup in the second half and then the slow release toward the end. I realized my mistake when the train drove into a tunnel and parked, with nobody else on it. Drums and deep sounds join in just after a minute. The keyboard and guitar sounds and techniques used are all over the place. Ganz is a little bit stronger than ziemlich, but there isn't much space in between meaning. The approach to combine kosmische electronics and rock music is fulfilled. Love the sound 2 minutes in, it's quite moving for some reason. Note: Please use an up to date browser to play the audio e.
